Camera Japan Festival 2025: `Maru`

I went to Camera Japan this year. The festival shows Japanese movies and much more. It started in Rotterdam at LantarenVenster&Fenix. I had wanted to go for a while and this time I finally did.

I watched Maru (2024) by Naoko Ogigami. I had heard of her before but never seen one of her films. The story is about Sawada. He is a young artist who just graduated from art school but has not found his own voice yet. One day he sees an ant in his room and starts drawing circles around it. These circles are called ensō. In Zen, an ensō is drawn in one brushstroke, often in silence, as a meditative act. Each circle shows the state of mind of the person drawing it. It can be closed or open, perfect or imperfect.

In Sawada’s case the act is almost accidental and a little absurd. A tiny ant, endless circles, and a young artist unsure what counts as real art. Maru shows how art gets value, how the market works, and the problems a person faces while searching for their own identity. Watching the strange parts of the modern art world made me smile often but also made me think, "Who does art really serve?" Especially in the quiet scenes. Sawada’s loneliness, his doubts, and how a small action can have a big meaning were powerful.

After the film the festival atmosphere was still in the hall. Some stands were set up but most were already closed. I looked at the ones that were open, had a glass of wine and then left quietly.

Camera Japan did more than let me watch a film. It gave me a small connection to Japanese culture. I did not choose Maru by chance but I went in without thinking too much. Watching it as a painter and seeing the funny side of the art world was refreshing. It was more than a festival visit.

Yunomi?

This blue cup with its slightly wide and subtly angular form might look simple at first glance. But the natural mix of beige and blue glaze creating soft, flowing patterns, reveals a different face every time. My recent cups have had a more minimalist stone-like feel; this one however, stands alongside them with both harmony and a distinct character.

One of my favorite details is the small variations that emerge after firing: the flow of the glaze and the blending of colors make each piece completely unique.

The shape of the rim makes sipping effortless, and when held in the hand, the geometric form seems to fit naturally, almost as if the cup has adapted to your grip. Drinking tea or coffee from it feels far beyond using an ordinary cup—you really sense the delicacy and individuality of handmade ceramics.

I considered listing this cup on Etsy, but part of me wondered if I should keep it for myself. Some pieces are just so special that you want to enjoy them daily, not just share them with others. This cup is definitely one of those.

Clair Obscur and Digital Game Art: Expedition 33 Review

It was hard to write this without giving spoilers since I’m still in Act 3 and haven’t finished the game yet. But I wanted to take a break and share my first impressions. A friend of mine said, “Ezgi, you really have to play this,” and I thought why not start now? Up to Act 3 what first caught my attention was the tension created by the Paintress character but after a while what truly captivated me was the incredibly detailed world. I often found myself stopping and just looking around; noticing the play of light and shadow, the streets and the small objects made me feel completely immersed in the game.

The use of light and shadow or clair-obscur in art in the game demonstrates a deliberate manipulation of contrasts to guide the viewer’s attention and create depth within the scene. In art clair-obscur refers to the technique of juxtaposing light and dark areas to produce dramatic tension and highlight certain elements, a principle that is clearly reflected in the game’s visual design. These contrasts not only shape perception visually but also reinforce narrative and thematic nuances, emphasizing the moral and psychological layers within the story.

The aesthetics are another joy. Scenes inspired by late 19th century and early 20th century France, La Belle Époque, are incredibly elegant and dramatic. Street lamps, ornate buildings, light fog, and intricate motifs… everything is so thoughtfully crafted it feels like looking at a painting.

And the music! Lorien Testard’s compositions complement the scenes perfectly. Sometimes I just listened to the music and watched the scenes for minutes without moving. The combination of music and visuals makes this digital world feel like a true piece of art.

I’m not going into turn-based mechanics or gameplay for now; I want to avoid spoilers. My emotions are so stirred that I wanted to leave this post here as a personal reminder. I forgot to capture screenshots from the game, so instead I’m sharing this beautiful Reels link about it.